Stylistic and Thematic auteur theory practical

Stylistic - Auteurs, or directors, have a personal style to their work that makes it recognisable as theirs.  According to Andrew Sarris, a director has a personal style accomplished through technical ability, how the movie looks and feels, it's 'interior meaning.'

An auteur therefore may use editing, setting, lighting and production staging to create their vision,  continuing this technicality throughout their films. 

Thematic - Continuous themes identified in an auteur/ directors filmography, for example, Alfred Hitchcock films seem to consist of unusual relationships between men and mothers, along with punishments given to females when going after the opposite sex, they're punished by it. An example being 'Psycho,' the main female was killed when she desired to run away with her boyfriend. Again in 'The Birds' where the main female attracts terrific screeching of demonic birds wherever she goes, she is the reason there is conflict. 

Selected director for my practical - Robert Zemeckis 

Script for voice over - 
Robert Zemeckis is a film producer, screenwriter and Oscar winning director. He's most commonly known for Death Becomes her,  Back to the future, Cast away and The Walk.    
His interior meaning and personal style of film making can be recognised through various stylistic and thematic links. For example, in films Cast away and Death Becomes Her, t  he theme of survival is explored throughout in both . In Cast Away, the main character Chuck is stranded on an island after his plane crashed on his delivery job. He fights for survival using resources surrounding him, the same principle applies in death becomes her. Madeline and Helen are the main protagonists who fight for survival by taking a magic potion that promises them eternal life and youth. They die over and over again, but instead of not living they only physically damage their bodies. 
The film also heavily explores visual effects, this being a common theme throughout other Zemeckis films such as Back To The Future.  
In Death Becomes Her, visual effects are used when Madeline takes the magic potion for the first time. https://youtu.be/yqTTejoQVXw
Following this editing, visual effects are also used in cast away to create a dramatic impact for the initial point of conflict, the plane crash https://youtu.be/IyOu9xCNMK0
and again in Back to the future 2 when Marty Mc Fly tries to escape from Biff's friends, also known as the antagonist, using    hover board.
(back to the future footage) In all 3 films, Zemeckis includes a desirable figure, something that the protaginst is fighting for, or an ironic yet heartwarming romance. There seems to always be conflict between what the character wants and where there current situation is. For example in Back To The Future When Marty Mc Fly travels to the time period his parents met, and ends up romantically impressing his own mother . https://youtu.be/ScdVHR4Kj7g  The romantic theme is explored ironically again in Death Becomes her, Madeline and Helen desire Ernest, the man who maintains their beauty and youth and are always comedically fighting over him. https://youtu.be/Z pXzLVGlnc8
In Cast Away, Chuck constantly remembers and needs his wife Kelly in his time of isolation, she's mentally the only thing keeping him alive. Especially in this scene, the removal of his tooth is extremely painful and to get him through it, he looks at a picture of his wife. https://youtu.be/WhVUgde_lNY
In terms of cinematography, Zemeckis uses close ups to add dramatic effect. In Cast away, footage of Chucks face close up shows the anticipation and frustration he has when trying to start a fire.  Even though the scene is not packed with action, the shot adds tension. Another close up and cleverly framed shot in Death Becomes her, where we see a view of Madeline and Ernest through Helens stomach where she has been shot by Madeline.
Zemeckis overall explores similar themes and techniques throughout his successful amount of films.

Practical -

Planning, Location and Risk assessment

Planned ideas -
After changing the idea, I had brainstormed and researched further ways to present in the most impactful manner. The initial ideas and desires for the moving image piece will consist of the following, incorporating the narrative, cinematography and editing.

Narrative - 
- The video will have a voice over of an individual describing their personal LGBT experience when growing up. We hope to follow a structure such as "Since I was young..." The story can therefore progress, how the individual realised they were gay, times during secondary education, etc.

Editing -
As the narrative follows a journey, we would like to begin the video in black and white. This meaning all visuals in black and white, etc. We would like to match this with a journey of colour. As the story progresses, as the person grows up, the colour becomes brighter. My partner in this group has experience in colouring on Premiere Pro & therefore focus on colour grading.
- Following a retro style start with black and white, we may use the 4:5 ratio and continue this throughout, as it links to the start narrative and is a different layout to anything we have explored before. A personal notation, that myself and partner should be aware when filming, that we do not cut off any important information and set out a grid when filming.
- Adobe Audition may be used for the voice over, using effects under multiband effects such as Walkie Talkie / distorting the voices using Lowpass and Highpass, overall experimenting, sounding slightly different / faded out. A photographer/ videographer I have explored heavily in previous work has a video with faded out, radio type audio, along the audio editing I would like to create. -

- Incorporating research from influencers who smash stereotypes, we plan to explore the Soviet Montage technique using footage from a music video by artist Troye Sivan - "Heaven" about gay rights. It includes footage of LGBT people marching and protesting for equality whilst loving each other. The footage is historical, and is therefore in black and white. Also, the song is a soundtrack we may have as instrumental background music, depending on how the layers sound on Premiere Pro. The lyrics of the song also having huge impact, we could add some sound when having cutaways. Taking a pause from the voiceover for dramatic effect, for example. The song / lyrics below:

Cinematography -

- Visuals of graffiti streets, going along locations mentioned in recce.

- We plan to film in Soho, London, where there are many gay flags, socialising outside gay clubs and bars, people being affectionate by kissing and holding hands, etc. We also hope to approach any extroverted, expressive individuals at these areas, for example men wearing makeup or drag queens, then taking still footage of them looking into the camera.

- Footage will be parallel to sound, visuals that match the story. 

Location scouting / recces -
Some locations in London that are highly popular for their exploration in LGBT activities include Soho, London, a 5min walk from Tottenham Court Road station with many gay clubs and pubs.

- Wardour street, LGBT rainbow flags with gay cafes/ bars and shops.

- Fifth street, lively in the evenings and at "happy hours" 

- Old Crompton Street, also lively in the evenings with the popular G-A-Y bar/ club. 

- Shoreditch High street - graffiti shots 

Risk assessment - 
Risks -
- “Stranger danger” asking strangers questions may make them feel uncomfortable/ angry, we do not know how they will react.
- Camera handling and rain
- Stealing of possessions
- Bad weather, slippery
- Foot traffic
- Overstepping personal boundaries
- Pubs / timing of Friday or Saturday night, participants may be under the influence of alcoholic beverages.
- Background noise, bad audio

How to handle these -
- Conduct appropriate research to ask respectful questions, do not overstep boundaries depending on the
persons behaviour
- Keep camera bag & protecting equipment safe
- Do not loose sight of any equipment, take turns watching and filming, etc.
- Wear appropriate footwear on selected day and check weather before leaving.
- Watch out and be careful when crossing
- Due to the topic, we must be careful when asking specific questions to said public, respecting their privacy and being aware of their feelings/ of their boundaries and what they want to say if they’re within the LGBT community. 
- Watch situations, again be careful when speaking & do not overstep boundaries
- Take extra equipment before leaving e.g microphone, also check weather to ensure there is not too much wind.

Higher education update

Considering my options as UCAS and apprenticeship deadlines come closer, I have made a list of possible options that I further wish to explore with notes on some questions I have.

Smashing stereotypes competition & brief

The smashing stereotype competition gives us an opportunity to raise awareness on issues related with gender equality and equal rights. It is set for anyone to get involved in hope for future change.

Who 
Many artists are smashing stereotypes and raising awareness of political conflicts. Some may use social media, others using a medium they specialize in lunch and expressing themselves through. The most common example could be musical artists, one that I admire being singer Troye Sivan. Opening about his sexuality as an online influencer / Youtuber in 2014 to now becoming a pop star and gay 'icon' Sivan has broken stereotypes about men being feminine by wearing makeup, nail polish, wigs, dresses, etc, and the openness to express their feelings and sexual desires. A prime example being his music video for song "Bloom." The singer acts freely in a dress and makeup, with pink/ red rose petals marked throughout the video and overall vibrant colours, whilst making several references to David Bowie.

How
I feel that I smash stereotypes by supporting and promoting influencers who have power in the media, e.g retweeting their content, telling my friends about it, etc. I have also researched / kept an eye on a LGBT activist group for many years, called GLAAD. Buying products from makeup brands that support men wearing makeup and brands / clothing that is unisex is also something I partake in, and feel breaks typical gender norms/ some stereotypes. Explored further in my media projects and projects, smashing stereotypes and overall in equality is something I enjoy exploring. 

Why
Smashing stereotypes is important to help society become more equal. It means that those who express themselves 'differently' won't be seen as different, instead it'd be normalised therefore less frowned upon. It means more comfortableness and freedom.

Brainstorming ideas - 
1. - Transgender history & how the generation and world has changed
- Using a Transgender lecturer from Goldsmith University, Louise Chambers. Contacting and asking for an interview, to film some shots, etc.
- Moving image & sound/ audio focused piece.
- Use of Adobe Audition, sound being something I have not yet explored in depth.

2.  - Focused on audio again voice over of a LGBT persons story. How they realised they were gay.
- Visuals of Soho/ gay bars and clubs
- Possible footage of extroverted looking people, e.g men wearing makeup if found on location/ with consent.
- Edit voice in audition so it sounds different, distorted.
- Visuals of graffiti streets, quiet roads, going along locations in London.

3. - Continuing photography ideas of men wearing makeup, incorporating photographs into the moving image piece
- Photographs and an edited story voice-over
- Mixing two mediums / photography and moving image, photography and sound.

Proposal & following email

• Smashing the negative stereotypes that are put upon transgender people. Using a transgender woman who will describe the discovery of her identity. How she realised and overcame being transgender, how this was socially. 
• The story being the audio/ sound part of the piece.

• Cuts between the transgender woman telling her story and visuals
• Visuals of LGBT people kissing, contacted through the Transgender woman's group.
• Our transgender woman being Louise Chambers, will contact and ask. Met at Goldsmith university. She’s part of a group, ask to contact this group
• Photography of people, still images of people's faces. Edit text over their face, “I am Gay, I am Lesbian.”

Focus group -
Our feedback consisted of good and constructive feedback. The main points being the idea is good because it may motivate people to express themselves with transgender being a niche topic, but the age / selected persona being the lecturer may be too old and therefore not appeal to our target audience. The idea that the lecturer and students watching our piece are from different generations meaning that they can't relate, though we argue that the older generation have been through the movement and helped it form the younger generations today, meaning they can provide some insight and knowledge. We received further feedback from our peers, mentioning that we should ask young people about their biggest problems and research the young generation as a whole.

Change of Idea -

As our main participant Louise did not respond, we decided to go with idea 2. The concept remains similar, except we will explore a gay / lesbian storyline, with visuals of location more. Our planning will therefore consist of LGBT more broadly in research rather than just focusing on transgender personas, though we will attempt to include some information as they're part of the community.
Explored in more detail over the planning and pre production documents -
- Keeping ideas such as LGBT people kissing, contacted a LGBT group. If not them, we will use people around us to hold hands, look romantically, etc.
- Will incorporate footage from LGBT marching rights.

Authorship research

Auteur -  French for author, a filmmaker who typically has the role of a director or writer for television, film, theatre, etc.
The Auteur Theory -  "There are no good or bad movies, only good or bad directors"
Originating from French cinema with 'Auteur' translating to author, this theory argues that the director takes the role of being an author of a story within a film. This being because they have most visual power, and that film is a visual medium, further suggesting other crew members such as the screenwriter and scriptwriter, the ones who begin the film in pre production, are not the authors. This can be controversial, arguing that they have just as much importance as a director as they are the ones that begin the story, however, it can also be argued that directors have the right as they're present during the scripwriting process, and have the ability to visually present recognisable issues and themes.
Andrew Sarris -
Andrew Sarris was a Hollywood film Critique famous for his book explaining views on 'The Auteur Theory' - 'Notes on The Auteur Theory.' Sarris stated that to be a good author, one should be able to recognise a directors style. An example being director Alfred Hitchcock, who had thematic links in his work such as using a "mother figure." Linking to his biography, it can be argued that Hitchcock represents his issues with his mother in his film by using a dark figure continuously, examples include "The Lodger" and "Rope." The director typically has control over themes and issues of a story, this being the pure substance of a story and further has occuring themes and messages over their filmography. All films could be different with various genres, but the theory states that there should be a common theme throughout.

Auteur Issues - 
Giving all credit to the director can seem an issue when there are various other roles that further make up a film. For example, as film is a visually medium it can be argued that a cinematographer is just as important, or a sound recording considering certain movies would not be the same without sound, actors, producers, etc. 
In a time period of film categorised as 'The Golden Age of Cinema' between the 1920's -1960's, there were also a lack of female directors, more so female writers. This could apply to the Auteur theory as another issue, with men being seen as more dominant with further power, being a director was automatically more important, therefore the director still seen as the crucial role, upholding the dominant hierarchy. 

A director that has a similar theme throughout their films making them an example of the Auteur theory is Ava Duvernay. Ava Duvernay is a female director, known for films such as 13th, TV show When They See Us, and Selma.

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Advertising gender roles - Practical

My final two photographs take the point of view of abolishing male stereotypes, with images of a male model wearing bright, glowing makeup, with confident expressions. The message behind this being that males who look strong can still have a persona where they express themselves through wearing makeup, and makeup/skincare not purely being a feminine attribute. I have taken my research into account influenced by makeup brand Anastasia Beverly Hills and advertising their highlighting & lip products. 

Editing on Photoshop -

This practical has allowed me to develop and learn new things about Photoshop using self experimentation and fellow pairs. The photographs before using the software are shown below, along with a list of tools:

- Patch selection tool, blemishes and removing facial hair 

- Camera Raw Filter, overall exposure, shadows and highlights/clarity for the image. Making the highlight stand out & glow.

- Text 

- Rectangle tool

- Eyedropper tool, matching text colours and PNG's to the colour of the models lip and skin colour.

-  Clone Stamp tool, paints with pixels from a separate part of the image, used in white to clean up removal of facial hair. 

- Special effects brush tool

- Click on layer, then Ctrl + T for resizing and moving 

Text - 

"Glowing in Confidence"

Language in this text symbolises the highlighting part of the advertisement, promoting a product called "glow kit." Using makeup props and appropriate lighting, the models cheekbones look highlighted and glittery, hence "glowing." When reading, "confidence" is so audiences feel they should be confident and comfortable regardless on whats on their skin, regardless of gender.

Work, strive, & achieve, with an effortless touch"

As males are seen as dominant / strong, I had decided to include words typically associated with the traditionally bread winning gender, then to relate and promote the makeup as flawless and appropriate even for those in hands on work. Wearing said products may not prove someone physically strong, but may make individuals feel emotionally and mentally strong. Also the mix of worlds, men can be "work/ achieve" and care for their appearance, adding makeup onto that as a gender equal attribute. 

Other Photographs also taken in the Photography Studio - 

Montage practical

Montage research

Montage -  A sequence representing a compressed amount of time in a storyline using pieces of work including photographs or moving images, usually also including music. Montages are used to speed up or slow down the pace of a story whilst keeping the audiences attention, keeping the key parts of the story and giving a sense of time. An example in Rocky, where the story includes a montage of the main character training over months amount of time. The further the montage progresses, the more intense the training becomes, therefore the stronger Rocky becomes- Examples of montages like Rocky are Hollywood/ more modern based, in comparison to early 1900's films with the practise of soviet montage. 

Kuleshov effect- A editing theory discussed by Lev Kuleshov, the act of using a characters expressionless face out of context, then adding shots in sequence and having the audience interpret what emotion the character is showing, depending on the next shot. Kuleshov felt that one frame may not be enough to portray a characters feeling, therefore giving the audience two/more separate shots for subconscious interpretation. His experiment proved that the audiences perception changed each time they were given a different situation, even though the characters face remained the same. 

Kuleshov's effect is used to modern day globally by filmmakers, an example being Everything, Everything. In the scene, Maddy looks out her window. Her face shown below. Without given context, Maddy could be looking at anything, e.g -

If looking at stars or the night sky, she looks intrigued and innocent. 

If looking into the street at a group of friends misbehaving, she looks rebellious, seems like she wants to join. 

Soviet montage- A particular type of montage that incorporates various shots, relying heavily on editing to create alternate meanings bigger than what would be visually evident. Originating during the time period of 1920's to the 1930's with Russian history, when Filmmakers found themselves short on film supplies due to the Russian revolution. Sprouting off Kuleshov's work, one of Kuleshov's students named Sergei Eisenstein was famously known for using the technique, his main goal being that he took propaganda in Russian society and presented it in a demolishing way, contributing to a revolutionised society. His Soviet montages would include altered images, depending on their composition and movement, time on screen, background information and how all of this would affect the audiences feelings. His most known montage, "Strike" practises the 'intellectual montage' theory that Eisenstein explored, along with 3 others.
Intellectual or dialectical montage - A series of moving images composed by the filmmaker that have subtle messages, deeper than whats visually seen. 
"Strike" Includes footage of two significant events, one being a bull butchered, the other of civilians going to war. Though visually separate, the meanings behind what is being shown proves the same - at the beginning, the bulls are running, as are the people. Theoretically speaking, they're running towards danger. This is labelled as "The carnage" After footage of people being shot and running with the bull being butchered, the next stage,"The defeat" consists of both the animal and thousands of people dead. 

A modern example of intellectual montage is included in a music video for band The 1975. The video contrasts between visually pleasing aesthetics of the band playing, to raw, impactful footage of global issues.The video challenges the audiences ideas on society. 

Another one of Eisenstein films including soviet montage is Battleship Potemkin. In the sequence "Odessa Steps," the perception of time is stretched. Included in the shot is footage of an incident that in real life would take a couple minutes, but in the montage, has been stretched to last 7 minutes. 

Associative or tonal montage - A series of unrelated clips, used to make the audience feel, not think about what they're seeing. Used more commonly in Hollywood music videos as an aesthetic. This type of montage practises Einsteins theories of collision. An example being a music video by group Oh Wonder. The video consists of random activities undertaken by various amounts of people, with no clear meaning or intention, but a positive and uplifting emotion. 

                                                              

                         

Photoshop workshop

Photoshop workshop:

Developing our skills within Adobe software Photoshop, we had completed a workshop and used a guide to create an advert. Text, drawing rectangles and eye dropping tools were used, with additional placements of layers to keep text visible over the background and coloured boxes, and blending modes contributing mostly to the background of the poster. Some experience in Photoshop previously meant that I could add text and text boxes easily, along with changing the colours, however little yet important details such as how to underline and place text in italics had been learnt. I feel I still need further practise with layers, though I have basic knowledge on how to merge, lock, etc. I would like to become more advanced and experiment with placing images over each other and visually judge how it would look, along with colour grading an image. Tools I found using for this include the settings under adjustments - photography, along with Camera Raw Filter.

My edit-

Logline & Story

Logline definition - A logline is a brief description of writing that sums up the main point of a story, this story shown in a moving image / book form.
When writing a logline, there are a few features to consider, this including:       
- The log line must have the main character (protagonist) and force against them (antagonist)
- Both protagonist and antagonist need an adjective to describe them along with what they're trying to achieve
- State the protagonists end goal.

Binary oppositions - 
- Young vs old. Ages of people within the school may range
- Real life vs fantasy life. The protagonist, Nina, is conflicted between knowing that she wants friends but not being able to always give in - because of her trust issues in the past/ because of the promise she has with the other dimension?
- Good vs evil

Logline - A lonely, brain-smart female is desperate to have friends, but her history and connection with the other side controls her emotions and forces her to act otherwise, in time for the transition of worlds.

Act 1 - Exposition 

It's Monday morning, Nina begins getting ready for the first day of a new school year. She seems tired and inattentive, until we see her put on her accessories. Her fingers carefully place a specific charm bracelet onto her wrist. She stops for a second after continuously rushing, and looks at the charms, then to the mirror. Something whispers in her ear, nothing that she doesn’t usually hear however. Her attention sprouts to a photograph of a woman on her wardrobe next to her mirror.
Flashback in Nina's memory to young Nina, she's looking in the same mirror wearing a dress. A woman we can interpret as her mum stands with her.
Her dad breaking her attention in their 3 storied house, Nina grabs her bag and heads out front, following her dad, Chris, to the car. We see the outskirts of what seems miles away from a central town, and we feel alone in this area, as it only consists of Nina, Bea and her dad, plus the occasional neighbour. Nina walks upto, around and into the car. Chris notices her charm bracelet, as he asks "where'd you get that from?" Nina responds, with hesitance "Bea gave it to me." A moment of silence, Chris, protective, breaks with “What she tells you isn’t true, remember that. give the bracelet back to her when you get home.” Nina stays silent, and we make our way to her new school. 

Flashback to Nina and Bea in Bea’s room. Bea is Nina’s sister, they live in the same house but Bea always seems to be in a “world” of her own. 

Bea has charms and a string, she puts charms into a cup, with an orange solution straight after. She has sepia type books scattered in her surroundings, with a board on the wall full of points, symbols and notes. “You’re going to meet loads of people on your first day, Nina. You can’t get too close. I need the charms with them, not you with them. It doesn’t work like that.” 

Cut back to Nina’s new school. As she walks in, there’s eyes on her at all angles. They smile, with a welcoming touch. Sabrina, a warm, approachable, young teen introduces herself to Nina, seeing that she’s new. 

They both communicate, talking about their studies. We find that both are in the same class, as they proceed to walk in and sit next to each other. Nina feels delighted, she’s felt particularly lonely recently. 

Montage of Sabrina and Nina becoming friends. As they become friends, students both in the same area of school and in class communicate with her. She makes friends, ones in which go out shopping, eat lunch together, have inside jokes, etc. It seems Nina has forgotten about the task. 

Act 2 - Rising action

Nina comes home one day, with Bea sitting in the living room. It’s been some time since they’ve discussed matters with the charms, but obsessive Bea has been calculating every day. Nina gets a fright, as she stumbles in with her unexpected view. Bea mumbles, “It’s time.” Nina remembers what her dad told her, and thinks back to the great connection she has with her friends. It’s what she’s always wanted. 

“Actually Bea, I’m going out with Melisa and Sabrina tonight. I won’t have time to…"

“Perfect! give them the charms then, and say I had an emergency, or dad wants you home, or something. “

“Actually Bea, I think …”

“What? don’t tell me you’ve actually become friends with them. I knew it… Did you forget the date?” Nina stays silent.

“Well?” Bea is impatient and approaches her sister. 

Silence, 

“Of course you did. Which is why I've already taken matters into my own hands. You’re the one with the powers here Nina, but I've still got the brains.” 

“What are you talking about?” Nina sais, worriedly. 

We have a flashback of Bea and Nina’s friends meeting earlier. Nina’s friends are walking out of school, Bea approaches them, explaining how she’s Nina’s sister. We meet Anastasia, Melisa, Silver, Clinton, and Sabrina. Bea’s persuasive, the research has gotten to her head making her passionate about the subject, almost crazy like. It brings out a new character in her, one that is making conversation with Nina’s friends. She ends up giving the charms to both Sabrina and Melisa, saying Nina wanted them to have it. 

Flashback to reality.

Nina’s in utter shock and despair, she watches Bea speak - 

“What’s the hype about silly school friends when you can have the power of another world? They’re about to be a great help for us.”

Nina exclaims at this point. 

“Your interests are different to mine, Bea. I’ve always wanted friends, real friends. especially since mum…”

“Don’t bring her into this. I get that you've been lonely, and neglected… So have I. but could you not imagine our power?” The audience have a sense that Bea is mentally overwhelming. 

“But anyway, if correct Sabrina and Melisa are facing their first contact with the other side right now. You need to merge them over. Where’d you say you were meeting again?”

Nina is worried. She tries to stop her. “They’re not worth it, Bea. I’d be wasting the power there is in those charms. They’re useless, really unintelligent. The other side wouldn’t want them. They couldn’t survive.” 

“They want people, Nina. Young people. 

And I want power.” 

Act 3 - Climax 

“But they’re evil”

“Everyone’s evil, Nina. Including me. Do you not remember what happened when mom died?”

Nina is silent 

“I used to be the wizard, you know that, right? But when she went, I couldn’t take the pressure anymore. She wasn’t here, and there were so many whispers in my head, random birds following me everywhere. It was too much, I transferred my powers to you.”

“The world took something from me, so i’ll take from the world.”

Birds fly past the window of the living room, Nina is suddenly scared and zoned out. Bea 

seems crazy, 

Distorted, Nina exclaims “Bea, I can't let this happen!”

“Don’t make them angry, Nina.” 

Flash to Sabrina's room, she’s getting ready with Melisa. They discuss plans for the night, general teen chat, when suddenly, they both hear whispers.

“Do you hear that?”

“Yeah… is your brother home or something?”

“He said he was at Frank’s house for the night…

I’ll check.” Sabrina leaves her room, with Melisa isolated. Melisa hums, looking at her nails. We suddenly hear and see her humming getting slower and eyes rolling back. She passes out, eyes wide open. 

Flash to Sabrina walking down the hallway to her brothers room. She gets to his door, slowing opening it, “Lee..?” Sabrina walks in, no one in the room but the window wide open.We see her eyes roll back in the same way Melisa's did, and she passes out, half collapsed on the bed and floor. 

Flash back to Nina and Bea. Nina runs to Bea’s Sepia books picking out a spell. She starts chanting, Bea’s face concerned as the audience hear screeches of things that are not recognisable as human. Nina sits with her eyes shut, chanting. When the screaming ends, her eyes open.

“Where are they, Bea!”

Nina runs out, she goes to her room to get her phone, calling both Sabrina and Melisa, but no one picks up. She makes her way downstairs, trying to act calm asking Chris to take her to Sabrina’s house. He know's somethings up, he's dealt with Bea before "I told you not to listen to her, Nina." But she gives him no further time to question as he grabs his keys and she runs to get shoes.

On the way to Sabrina's house, we hear the whispers Nina had with her dad on the way to school, this time louder. On arriving, after searching the living room making her way upstairs she finds Melisa. Nina is worried and panicked, she holds Melisa and repeats a spell. After continuous trying, eventually succeeding, both characters are scared yet relieved. The audience too, feel safer.

Act 4 - Falling action

Nina wonders where Sabrina is after Melisa explains "She went out the door to find her brother. Go check, ill be fine" Nina was always closest with Sabrina, she rushes out in confusion and a bad internal vibe, feeling sick. She scans the hallway, then to find Lee's room door open. Running inside -"Sabrina!" Nina repeats the process to wake up Sabrina, as she does, the whispering stops.

Sabrina swears and screams, then hug's Nina. "My sister needs help, this is all her fault."

A few moments later, Melisa joins her friends in Lee's room, all characters look shocked. Nina explains the situation as all is revealed to the audience - "There's an alternate universe, one that needs people to join it in order for it to overtake humankind." Sabrina looks down at her charm, Nina bringing her wrist up. "There's demons and leaders who control humans, if merged into their world, they'll take you for their own. " Melisa takes her charm off after viewing Nina's actions, looking down to the floor. "My sister was involved since she was little, after the car crash incident of my mother, well, she thinks they took her."

Melisa remarks, "This is crazy"

"We have to stop my sister. I have an idea"

The girls plan to go back to Nina's house to tell Chris about the situation, in hope that he can help. Sabrina drives to her house. On arrival, Melisa and Sabrina sit in the living room of Nina's house, making small talk with Chris. Nina goes upstairs, yet again to be faced with Bea.

Bea sits in her room crunched up, she looks even crazier now, angrily, she exclaims- "What have you done!" As Bea get's up, almost to attack Nina, Nina holds her hand out to block her. She starts chanting, with whispering starting again. Bea is weak, she falls to the ground. Nina follows her down, grabbing her wrist to place an orange stringed charm bracelet on her.

"It's better this way, Bea."

Bea's eyes turn red and widen, before she is completely unconscious. The audience recognise the expression on her face, its similar to Sabrina and Melisa's beforehand, but this time Bea's lips are pale purple and her eyes bright red. Nina collapses in exhaustion next to her and we fade out.

Act 5 - Denouement -

Flash to the alternate universe, a surrounding we have not yet seen. The land is weird, there’s a desert type haze in a city full of skyscraper buildings. Everyone is expressionless and pale. We see Bea wake up in a souvenir shop. It’s empty, but the souvenirs match symbols we saw on the board of Bea’s room. Bea get's herself together and stands up, she looks confused as she walks around the shop, touching the walls. Suddenly, there are footsteps from the back, before visually viewing,we hear a warm, sweet tone. The audience are given a shock, as we find the footsteps coming closer then to reveal a figure standing as if they're the owner of the shop. This being a woman who is the same as the one we saw in Nina's flashback, her mother. Bea turns around, given a shock.

"Mother?"

The audience are also in shock, everyone assumed Bea was crazy, but she'd been right all along. End scene.